Fauve’s coming-of-age with the question of her identity beyond being Mistral’s daughter especially felt surprisingly modern. All three approach it in different ways, but it is an important part of the plot and I appreciated that Krantz, who was Jewish herself, gave it such a prominent space in the story. I also enjoyed the way the Lunel women interacted with their Jewish identity. Mistral, I thought the writing was evocative and the plot well-paced, as it held my attention throughout. Each woman is distinct from the other, and all are compellingly and clearly sketched. In Mistral’s Daughter, though the narrative is shaped around Mistral, the true focus is on the Lunel women, who had great impact on his personal and professional life. Three generations of the beautiful Lunel women – Maggy, Teddy, and Fauve – are united in their connections to Julien Mistral, a world-famous painter. There’s still good writing there- and I think that’s especially true when it comes to Judith Krantz. It annoys me when people dismiss them as ‘trashy,’ as though they have to make excuses for not reading Dickens or whoever all the time. You must admit they are rather addictive in their escapist nature and their pulpy plots. Every so often I go on a kick of reading those commercial romances about driven young women published in the 1980s that are sometimes called bonkbusters.
0 kommentar(er)
